#natural language toolkit

[pythonprogrammingsnippets]

python keyword extraction using nltk wordnet

import re # include wordnet.morphy from nltk.corpus import wordnet # https://pythonprogrammingsnippets.tumblr.com/ def get_non_plural(word): # return the non-plural form of a word # if word is not empty if word != "": # get the non-plural form non_plural = wordnet.morphy(word, wordnet.NOUN) # if non_plural is not empty if non_plural != None: # return the non-plural form # print(word, "->", non_plural) return non_plural # if word is empty or non_plural is empty return word def get_root_word(word): # return the root word of a word # if word is not empty if word != "": word = get_non_plural(word) # get the root word root_word = wordnet.morphy(word) # if root_word is not empty if root_word != None: # return the root word # print(word, "->", root_word) word = root_word # if word is empty or root_word is empty return word def process_keywords(keywords): ret_k = [] for k in keywords: # replace all characters that are not letters, spaces, or apostrophes with a space k = re.sub(r"[^a-zA-Z' ]", " ", k) # if there is more than one whitespace in a row, replace it # with a single whitespace k = re.sub(r"\s+", " ", k) # remove leading and trailing whitespace k = k.strip() k = k.lower() # if k has more than one word, split it into words and add each word # back to keywords if " " in k: ret_k.append(k) # we still want the original keyword k = k.split(" ") for k2 in k: #if not is_adjective(k2): ret_k.append(get_root_word(k2)) ret_k.append(k2.strip()) else: # if not is_adjective(k): ret_k.append(get_root_word(k)) ret_k.append(k.strip()) # unique ret_k = list(set(ret_k)) # remove empty strings ret_k = [k for k in ret_k if k != ""] # remove all words that are less than 3 characters ret_k = [k for k in ret_k if len(k) >= 3] # remove words like 'and', 'or', 'the', etc. ret_k = [k for k in ret_k if k not in ["and", "or", "the", "a", "an", "of", "to", "in", "on", "at", "for", "with", "from", "by", "as", "into", "like", "through", "after", "over", "between", "out", "against", "during", "without", "before", "under", "around", "among", "throughout", "despite", "towards", "upon", "concerning", "of", "to", "in", "on", "at", "for", "with", "from", "by", "as", "into", "like", "through", "after", "over", "between", "out", "against", "during", "without", "before", "under", "around", "among", "throughout", "despite", "towards", "upon", "concerning", "this", "that", "these", "those", "is", "are", "was", "were", "be", "been", "being", "have", "has", "had", "having", "do", "does", "did", "doing", "will", "would", "shall", "should", "can", "could", "may", "might", "must", "ought", "i", "me", "my", "mine", "we", "us", "our", "ours", "you", "your", "yours", "he", "him", "his", "she", "her", "hers", "it", "its", "they", "them", "their", "theirs", "what", "which", "who", "whom", "whose", "this", "that", "these", "those", "myself", "yourself", "himself", "herself", "itself", "ourselves", "yourselves", "themselves", "whoever", "whatever", "whomever", "whichever", "whichever" ]] return ret_k def extract_keywords(paragraph): if " " in paragraph: return paragraph.split(" ") return [paragraph]

example usage:

the_string = "Jims House of Judo and Karate is a martial arts school in the heart of downtown San Francisco. We offer classes in Judo, Karate, and Jiu Jitsu. We also offer private lessons and group classes. We have a great staff of instructors who are all black belts. We have been in business for over 20 years. We are located at 123 Main Street." keywords = process_keywords(extract_keywords(the_string)) print(keywords)

output:

# output: ['jims', 'instructors', 'class', 'lesson', 'all', 'school', 'san', 'martial', 'classes', 'karate', 'great', 'lessons', 'downtown', 'private', 'arts', 'also', 'locate', 'belts', 'business', 'judo', 'years', 'located', 'main', 'street', 'jitsu', 'house', 'offer', 'staff', 'group', 'heart', 'instructor', 'belt', 'black', 'francisco', 'jiu']

[theharrymanback]

El arte de escribir bien (y algunas estadísticas al respecto)

El arte de escribir bien (y algunas estadísticas al respecto)

Desde hace un tiempo, muy a menudo me sorprendo a mí mismo maravillado frente a un texto. Pero no porque la historia que cuenta sea impresionante o me esté dando información súper interesante. A medida que mi lista de lecturas ha ido creciendo, también lo ha hecho mi gozo al encontrar pasajes particularmente bien escritos. Además, durante los últimos años he invertido muchas horas intentando…

[genericpuff]

LO Art Analysis (or: A Real Example of Why You Shouldn't Use Multiply for Everything)

I've obviously been spending a lot of time recreating LO art and in that time, I think I've really cracked open some of modern LO's problems with its art. This is a lengthy post so turn on some lo-fi, grab some popcorn and strap in.

One thing in particular that I'm very eager to talk about (and go off about) is Rachel's use of color language and shading.

THERE WILL BE BRIEF FASTPASS PANELS AHEAD IN THIS ANALYSIS. YOU'VE BEEN WARNED!

One of the key things that most people seem to agree on when it comes to LO's current art quality is the lack of color language. Back in S1, we had colors that seemed to jump off the page, with gorgeous rendering that created panels that were vast and beautiful to take in. It didn't matter if the anatomy was wonky or if the backgrounds were translated directly from Google Sketchup, the color and compositions made up for its flaws and created unique vignettes that individually contributed to what we found so special about LO back in those days.

That last one especially is still hands-down one of the most well-known and influential LO panels out of the entire series. Many a phone background its graced (my own included, I've literally had this as my phone background for like 3 years now) and it serves as a beautiful standalone example of the mood and emotions LO used to convey. You don't need to know the context of the scene, you don't need to know the characters, the mere posing and color choice alone is enough to invoke a reaction from the viewer. It doesn't even have a lot of shading or final rendering, the composition and texturing is all it needs.

So why does a simple panel like that work, but panels like these don't?

I have such beef with this panel because it does the complete opposite of what the famous Tower 4 panel achieves - it puts on full display everything wrong with LO's current art style, from its character posing to its color language aaaall the way to its final rendering.

First off, the character posing and framing. I finally figured out what RS' male characters have been suffering from lately, and it's a phenomenon that I'm sure many of you will be able to recognize right away.

Seth Macfarlane Syndrome.

You might not watch Family Guy, you might not watch American Dad, or the Cleveland Show, but you'll know exactly what I mean when I talk about Seth MacFarlane Syndrome. It's the stiffness, the lack of movement or bend in joints, the boring posing of characters standing with their arms flatly at their sides and their entire body facing the same direction, eyes unblinking - and when they speak, heads slightly tilting, mouths always being conformed to the same default shapes, while the arms do something random and unrelated to create the illusion of natural movement.

This has been an issue in LO for a while now, incredibly flat posing that lacks any sort of dynamic curvature to it, but it's best exemplified by that Ares panel above because holy shit does he ever look like Stan Smith in it. Boxy shoulders with arms that appear to be WAY too short hanging off the side, elbows flattened, hands straightened out, no natural shaping whatsoever.

But that's not the crux of the issue I want to touch on today.

No, the worst offense of this panel is that it indirectly proves what I've been suspicious of for a while now.

To explain real quick for context, there's this thing in digital art called Blend Modes. It's essentially a basic function in digital art that allows you to change the properties of layers for the purpose of shading, rendering, whatever have you. Most of these Blend Modes are the same across all digital art programs, things like Multiply, Screen, Color Dodge, etc. are all fairly basic tools in the digital artist's toolkit but all have an INCREDIBLY high ceiling of mastery - meaning, blend modes are easy to use on a basic level, but require a lot of skill and understanding of color language to utilize to their full potential. Using them right can transform a passable piece of work into a great one - on the flipside, using them wrong can take a passable piece of work and piss all over it.

The one I want to focus on in this post is Multiply. I use this blend mode myself quite often, it basically 'multiplies' the properties of the layers below it, taking whatever colors are below and 'doubling' them to create darker tones. This makes it a go-to for shading.

But the issue with Multiply is that it often ends up being used when it's not supposed to be. Or rather, people starting out will often use it as a substitute for shading when you'd be better off using your own hand-picked colors. I've got characters with skin tones that I can shade with the same color set to Multiply, zero issues, because the base tone is one that doubles well, it creates a nice rich tone on top that's perfect for shading.

But do you know the one color that DOESN'T multiply well?

Yellow.

Yellow is NOT a color you can just multiply, not without the final result looking flat and almost putrid. Most people will thus recommend you shade yellow with other colors along the same side of the color wheel, including oranges and reds. This is precisely why knowing color theory is such an important skill even in digital art, because using Blend Modes improperly can create flat tones that can ruin a final composition.

Going back to that Ares panel...

Again, I've had this suspicion for a while, especially when looking at panels of Persephone (*pink is ALSO a color that doesn't multiply well)

So I put it to the test. I took the original panel, sampled the yellow, and overlaid it with Multiply to see what I'd get.

Fam.

That putrid deep yellow that I mixed above is literally NEXT DOOR NEIGHBORS WITH WHAT I EYEDROPPED FROM THE PANEL. Copy and paste that and eyedrop it yourself if you want to see it with your own eyes. It's pretty obvious she did the same thing with Hera as well, you can tell her skin tone has been set to multiply and repainted with the same color, same as with her jacket.

They are using Multiply layers for everything as the default. This is not how Multiply is intended to be used - it's lazy shortcutting that's resulting in flat, boring, ugly compositions.

RS has stated herself that she 'changed' how LO is drawn to help 'streamline' the process for her assistants. This isn't streamlining. This is cutting corners.

Streamlining would be having color palettes to refer to during the coloring and shading process. I use them myself for characters that I CAN'T multiply-shade, I literally have characters whose skin tones are too light and yellow-toned for it - using Multiply would wash out their tones and make them look flat and sickly so I have to use a separate color from a different part of the color wheel to shade them (usually a darker tone of red/orange).

Rachel, babe, this isn't streamlining, this is just taking shortcuts to the point of sabotaging your own work. You can't sit there and tell me THAT looks good and is worth the 'streamlining' when panels like THESE used to exist:

Turn off the Multiply layers and color your characters for once, please, I'm begging you. This is such a rookie move for someone who claims to be a professional (and regularly brags about the awards she's won); not to mention a tragic fall from grace because we know Rachel can and has produced better work than this in the past. She knows color language, she knows how to paint, so why is she resorting to shortcuts like this? She has an entire team of people and yet she's still consistently behind enough in her buffer - or just doesn't care enough anymore - that she's resorting to lazy amateur tactics like using Multiply for everything.

And on the off chance that she ever sees this, Rachel, it's not even that hard to use proper colors. You've done it before, you should already have the color palettes available to you.

(P.S. One handy-dandy experiment to tell if your Multiply layers are failing you is the desaturation test. You'll notice that drawings being made primarily with Multiply layers will look a lot 'flatter' when desaturated, because the shading is just the same color on top of itself and 'doubled', there isn't any actual value or depth in the shading itself. These are the exact same panels I showed before, RS' on the left and mine on the right, they've just been desaturated to show the difference that proper color choice can make when defining values and tones in shading!)

[canmom]

I will admit, as a fan of old scifi TV, I prefer the more theatrical style of filmmaking? Particularly for more fantastical genres. Partly because it gives each series it's own unique feel - you can identify old TV scifi by sound palette and shot type alone, and it lets you know you're in for a scifi romp rather than a crime procedural or a sitcom. Like, a lot of modern scifi uses the same shots and a similar sound palette, and like. A lot of storytelling language is unavailable to the realistic styles.

Also, the emotional heart of scifi and fantasy relies on being able to empathise with situations and people who are not familiar or human, sometimes with bodies that cannot do human body language. Theatrical TV allows the show to do the live-action version of those big ghibli tears - you know, the ones that look unrealistic but are exactly what sobbing feels like? Which is really useful when you want your audience to empathise with a character who is extremely non-human, and also in cases where the special effects have not aged well. Like, the monster might obviously be aquarium tubing covered in vaseline, but the theatrical nature of the acting, camerawork, sound and lighting etc can still produce a thrill of terror.

[in reference to this post]

I definitely agree! So would Bertolt Brecht, probably, who was strongly of the opinion that you should draw attention to the constructed nature of a play rather than try to hide it. ( @baeddel and I would always be going on about how Drakengard was Brechtian, those were the days...)

'Naturalism' in cinema, acting etc. is not actually 'natural', but something carefully constructed in a way that tries not to draw attention to its constructed nature. The most 'naturalistic' acting would be a candid video of someone who isn't aware they're being filmed, but that doesn't typically make for good film.

One of the interesting things that comes up towards the end of that video on acting is how there's been a bit of a return of the theatrical style, or something of a blend of that with the "naturalistic" practices developed in the last half-century. He reels off a bunch of examples, such as Wes Anderson or Yorgos Lanthimos's films, particularly Emma Stone's performance in Poor Things. Which I haven't seen yet so I can't comment.

However, in animation, I would definitely talk about the puppet stop motion films of Barry JC Purves, who adopts a very theatrical style. For example, look at the way Tchaikovsky moves in this one:

His films on classical themes, like the one on Achilles, are perhaps even more so. The vibe of this is fantastic, perfectly suited to the range of motion of the puppets (which are limited in terms of facial expression) and coming across as very intentional and distinctive. I wrote about him a year ago for Animation Night 161, where I've collected all the films of his that I can find online.

Really there's no one 'best' acting style - it's a toolkit, which you can apply to different ends. The kind of 'naturalism' that pleases the Academy can be a very good tool for a drama, but there are plenty of other ways to do it, especially in animation where the entire world can support the performance far more easily than choreographing a comparable sequence in live action. Something like Revolutionary Girl Utena or Rose of Versailles would not be improved by a more naturalistic acting style! But equally Jin-Roh: The Wolf Brigade benefits hugely from its realist style and reserved performances. Maybe if there's any advice to give, it's that be conscious you're making a choice and commit to it whole hog...

[subway-boss-jericho]

Aside from his cries, What kind of sounds does Ingo make now?

Lovely question! 🥺 :D

Steady Tracks Ingo, unfortunately, does not have a proper set of vocal chords to speak most of the sounds needed for English language. While this is still about his cry, his regular sounds that he can achieve just by speaking involve any combination of sounds from his existing cry. A-W-L-A B-O-A-H. This is obviously limiting, but gives him a decent vocal variety to work with. When speaking aloud, most sounds he makes are heavily guided by his instincts, and by extension rarely map to human word forms and sentence structure.

Outside of his cry! He can do other things!!

I am not going to reveal exactly how he can do this because I wanna write about it some time later down the line, but he can make a low, loud wind-instrument sound like a proper train whistle. He does this naturally, but can also do it purposefully as well. It is usually used (when intentional) to express joy or as a warning call. Due to the nature of how loud/harsh it can be on the ears, he tries to be careful when using it in casual settings or when people are particularly close by.

Additionally! Through means I again plan to elaborate on in further chapters, Ingo has abilities that allow him to produce seismic vibrations. Through the same sort of way he can use Earthquake, he can make various buzzing, rattling, and rumbling sounds. This does mean that he can purr and if anyone calls it that he will die On The Spot from sheer, overwhelming embarrassment. I think I meant to post this on its own at some point but I have a drawing I'm gonna put below as an example :> as a treat. Made this last year.

While yes, he does do this to express pleasure, comfort, or ease, it's one of his most versatile forms of verbal/nonverbal/(does it count as verbal if it's not ?? speaking)/auditory communication. He often uses low rumbles to signify nervousness, displeasure, assent, dissent, wariness, frustration, and many other emotions. It's extremely context-based, and is often one of the easiest default replies in response to anything. Higher or faster buzzing is rarer, and I don't have a specific example of intention to offer, but you can imagine it's used in very different contexts. However, I do think he uses higher-pitched buzzes in short bursts as a way to get others' attention or express imploring/goading/approval. Like a phone vibrating. Genuinely I think he's mimicking phone notification sounds, but I don't think he realizes why.

This is not necessarily intentional on his behalf, but when straining his voice he tends to make loud metallic screeching and scraping sounds. This is probably what Boom Burst sounds like, although that move can likely take on the properties of most of his vocal abilities. This is what it would sound like if, for any reason, he tried/needed to scream at the top of his register. Bad for all involved! Including himself!

And just so you all know, he sounds most human when he's laughing. :>

I think that's the majority of his auditory toolkit! Thank you for the super engaging question!

Steady Tracks Masterpost

[ipsogender]

The Social Model of Intersex

I recently wrote up an explanation of the social model of intersex and here I'm gonna take what I wrote the other day and expand on it.

Exposition: Some Disability 101

The social model of intersex is based on the social model of disability so first we need to know that terminology:

The medical model of disability views disability as something inherently disordered, requiring treatment/cure.

In contrast, the social model of disability sees that what is disabling about a disability is how society treats disabled people. There aren’t ramps and elevators for wheelchair users. There aren’t enough people who know signed languages or Braille. Videos don't come with quality captions and audio description. Etc.

(image from here)

The Medical and Social Models of Intersex

The medical model of intersex is analogous to the medical model of disability. Being intersex is seen as disorder that needs to be cured. The terms disorder and difference of sexual development (DSD) are sometimes used by people who think of intersex this way. This is the dominant model that most people in Western society use to think about intersex, and similar to how the disability rights movement is resistant to the medical model, intersex people as a community want our medical model to lose its dominance.

The social model of intersex is similarly analogous to the social model of disability. It sees intersex variations as natural bodily variations. What sucks about being intersex is the intersexism - the stigma, discrimination, isolation, and shame that surrounds being intersex; the fetishization of intersex bodies (usually ambiguous genitals); the medical violence/trauma that comes from being coerced into gender-conforming treatments; and so on.

Authority and Gatekeeping

The two models have different epistemic implications, i.e, whose knowledge is important and valid. The medical model places (perisex) doctors and biologists as the authorities on intersex. Being intersex is a result of medical diagnosis, and doctors are the gatekeepers.

The social model places actually intersex people as authoritative, and what emerges from intersex communities is less emphasis on diagnosis and more emphasis on how your bodily variations have affected your life experiences.

And once you get people talking about life experiences and failing to meet a perinormative standard, it becomes apparent that common diagnoses like PCOS and gynecomastia are frequently associated with the same sorts of life experiences that people with diagnoses that everybody agrees are intersex.

For intersex people, having intersex be a big tent is an advantage. We suffer from isolation so terribly. Having more people in the community helps break that isolation. And having more community means more ability to mobilize against harmful practices like IGM.

Edit to add: the social/experiential aspect of being intersex is one of many reasons why intersex people react negatively to non-binary people saying they want to "transition to intersex".

The Futures We Want

For social model folks like me, the ideal future is that intersex people are accepted, respected, given considerate medical care that respects bodily autonomy, and given access to safe and inclusive community.

In contrast, medicalists think the ideal future is that there are no intersex people, because we have all been “cured”.

This is part of why so few intersex people find out their diagnosis is an intersex variation from their doctor (if they're even lucky enough to get and be told their diagnosis). This contributes to why so many intersex people don't figure out we're intersex until adulthood. Giving patients a label to help find social support and organize politically for better conditions just isn’t something in the mental toolkit of somebody who is stuck in the medical model.

Where The TERFs Come In

The medical model encourages the intersex community to stay fractured into different diagnoses, and to view us as rare anomalies.

This is why TERFS and other transphobes love the medical model of intersex. They cannot handle the idea of intersex being common. They need it to be rare so they peddle their narrative that biological sex is simple.

Even though the biology is clear that sex is really complicated and there is no clear line between male and female, and a whole bunch of middle ground, the anti-trans lobby isn't willing to listen.

To them, there is no middle ground. There is instead two separate categories - male and female - and with each categories you have a tiny subset of "disordered males" and "disordered females".

This is why we see anti-trans posters trying to sow doubt about POCS as intersex. PCOS is common. It affects primarily women. And recognizing hyperandrogenism PCOS as intersex is a direct threat to their messaging about sex and gender.

Summary

The medical model contributes to so much of the intersexism that intersex people face, notably from the anti-trans lobby and from doctors. We suffer from seen as being broken/disordered, from coercive medical interventions, and from the isolation that comes from being told you're uniquely broken. The social model allows actually intersex people to be seen as the authorities on intersex; and for us to find community, healing, and political power.

[readmypaws]

What is the Most Natural Development Principle? (Linguistic Tidbits #2)

Introduction

Hey there! Today, I’ll be talking about one of the most important concepts in language evolution: the Most Natural Development Principle (MNDP). As conlangers, we usually try to make our conlangs naturalistic to be believable to those who encounter our langs in literature. The MNDP is a tool in our phonological evolution toolkits that is critical to the organic development of naturalistic linguistic systems. So, without further adieu let's dive into the Most Natural Development Principle!

What is the MNDP?

The Most Natural Development Principle is a set of four sound changes present in most languages. They are as follows:

The final vowel of a word may be dropped if the syllable is unstressed (Ex. metada /’mɛt.ɑd.ɑ/ becomes /’mɛt.ɑd/)

Voiceless sounds become voiced between vowels (Ex. metad /’mɛt.ɑd/ becomes medad /’mɛd.ɑd/)

Stops become fricatives (Ex. medad /’mɛd.ɑd/ becomes meðad /’mɛð.ɑd/)

Word-Final consonants become voiceless (Ex. meðad /’mɛð.ɑd/ becomes meðat /’mɛð.ɑt/)

Applying the MNDP in Conlanging

When trying to create a naturalistic conlang, sometimes it’s hard to figure out what sound changes to incorporate into our langs. I always make sure that the MNDP is one of the first sound changes to implement into my conlangs (Along with h-deletion which I wrote about in my last blog post: https://www.tumblr.com/readmypaws/721694990484520960/what-is-h-deletion-and-compensatory?source=share) It helps get the process started and it becomes much easier to think of sound changes after implementing some basic universal changes to see what happens. However, when constructing a language, consider the linguistic context, the cultural context, and the specific goals you want to achieve. Strive for consistency, and avoid artificial or arbitrary elements that may take away from the naturalistic feel of your conlang.

Conclusion

Remember, the MNDP is not a rigid set of rules that must be used in all conlangs, but rather a good sound change that helps us create conlangs that feel alive and realistic. Happy conlanging ^w^

[dailyanarchistposts]

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———. “Lecture on Spinoza’s Concept of Affect.” Lecture presented at the Cours Vincennes, Paris, 1978. https://www.gold.ac.uk/media/deleuze_spinoza_affect.pdf.

———. “Postscript on the Societies of Control.” October 59 (1992): 3–7.

Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1983.

Deleuze, Gilles, and Claire Parnet. Dialogues II. European Perspectives. New York: Columbia University Press, 2007.

Dixon, Chris. “For the Long Haul.” Briarpatch Magazine, June 21, 2016. http://briarpatchmagazine.com/articles/view/for-the-long-haul.

Dohrn, Bernardine, Bill Ayers, and Jeff Jones, eds. Sing a Battle Song: The Revolutionary Poetry, Statements, and Communiques of the Weather Underground 1970–1974. New York: Seven Stories Press, 2006.

Editors of the American Heritage Dictionaries, ed. Word Histories and Mysteries: From Abracadabra to Zeus. Boston: Houghton Mifflin, 2004.

Esteva, Gustavo. Interview with Gustavo Esteva. Interview by carla bergman and Nick Montgomery. Email, April 26, 2014.

———. Interview with Gustavo Esteva in Oaxaca. Interview by carla bergman and Nick Montgomery. Video, 2012.

Esteva, Gustavo, and Madhu Suri Prakash. Grassroots Postmodernism: Remaking the Soil of Cultures. London: Zed Books, 1998.

“Ethics — Definition of Ethics in English.” Oxford English Dictionary. Oxford: Oxford University Press, 2016. https://en.oxforddictionaries.com/definition/ethics.

Federici, Silvia. Caliban and the Witch: Women, the Body and Primitive Accumulation. New York: Autonomedia, 2004.

———. Feeling Powers Growing: An Interview With Silvia Federici. Interview by carla bergman and Nick Montgomery. Telephone, January 18, 2016.

———. Losing the sense that we can do something is the worst thing that can happen. Interview by Candida Hadley, November 5, 2013. http://halifax.mediacoop.ca/audio/losing-sense-we-can-do-something-worst-thing-can-h/19601.

———. Permanent Reproductive Crisis: An Interview with Silvia Federici. Interview by Marina Vishmidt, July 3, 2013. http://www.metamute.org/editorial/articles/permanent-reproductive-crisis-interview-silvia-federici.

———. Preoccupying: Silvia Federici. Interview by Occupied Times, October 25, 2014. http://theoccupiedtimes.org/?p=13482.

———. “Putting Feminism Back on Its Feet.” Social Text, no. 9/10 (1984): 338–46. doi:10.2307/466587.

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———. “Trashing: The Dark Side of Sisterhood.” Jo Freeman.com, n.d. http://www.jofreeman.com/joreen/trashing.htm.

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Imarisha, Walidah. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Oakland: AK Press, 2016.

———. Interview with Walidah Imarisha. Interview by Nick Montgomery and carla bergman. Email, December 22, 2015.

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Killjoy, Margaret. Interview with Margaret Killjoy. Interview by carla bergman and Nick Montgomery. Email, March 8, 2014.

Landauer, Gustav. Revolution and Other Writings: A Political Reader. Edited by Gabriel Kuhn. Oakland, CA: PM Press, 2010.

LeGuin, Ursula. The Lathe of Heaven. New York: Scribner, 1999.

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Marcos, Subcomandante Insurgente. Ya Basta!: Ten Years of the Zapatista Uprising. Edited by Ziga Vodovnik. 1 edition. Oakland, CA: AK Press, 2004.

Massumi, Brian. Politics of Affect. Cambridge: Polity, 2015.

Matining, Mel. Interview with Mel Matining. Interview by carla bergman and Nick Montgomery. In person, May 6, 2014.

Mies, Maria. Patriarchy and Accumulation on a World Scale: Women in the International Division of Labour. London: Zed Books, 2014.

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Negri, Antonio. The Savage Anomaly: The Power of Spinoza’s Metaphysics and Politics. Minneapolis: University of Minnesota Press, 1991.

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Nietzsche, Friedrich Wilhelm. Thus Spake Zarathustra: A Book for All and None. Translated by Thomas Wayne. New York: Algora Publishing, 2003.

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Rollo, Toby. “Feral Children: Settler Colonialism, Progress, and the Figure of the Child.” Settler Colonial Studies, June 29, 2016, 1–20. doi:10.1080/2201473X.2016.1199826.

Ruddick, Susan. “The Politics of Affect: Spinoza in the Work of Negri and Deleuze.” Theory, Culture & Society 27, no. 4 (2010): 21–45. doi:10.1177/0263276410372235.

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Sedgwick, Eve Kosofsky. “Paranoid Reading and Reparative Reading, Or, You’re so Paranoid, You Probably Think This Essay Is about You.” In Touching Feeling: Affect, Pedagogy, Performativity, 124–51. Duke University Press, 2003.

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Simpson, Leanne. Dancing On Our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence, and a New Emergence. Winnipeg: Arbeiter Ring Press, 2011.

———. Dancing the World into Being: A Conversation with Idle No More’s Leanne Simpson. Interview by Naomi Klein, March 5, 2013. http://www.yesmagazine.org/peace-justice/dancing-the-world-into-being-a-conversation-with-idle-no-more-leanne-simpson.

Simpson, Leanne Betasamosake. “I Am Not a Nation-State | Indigenous Nationhood Movement.” Indigenous Nationhood Movement, November 6, 2013. http://nationsrising.org/i-am-not-a-nation-state/.

———. “Indict the System: Indigenous & Black Connected Resistance.” Leanne Betasamosake Simpson, November 28, 2014. http://leannesimpson.ca/indict-the-system-indigenous-black-connected-resistance/.

———. Interview with Leanne Betasamosake Simpson. Interview by Nick Montgomery and carla bergman. Email, November 2, 2015.

Sitrin, Marina. Everyday Revolutions: Horizontalism and Autonomy in Argentina. London: Zed Books, 2012.

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———. Interview with Marina Sitrin. Interview by Nick Montgomery and carla bergman. Email, February 4, 2016.

———. “Occupy Trust: The Role of Emotion in the New Movements.” Cultural Anthropology, February 14, 2013. https://culanth.org/fieldsights/75-occupy-trust-the-role-of-emotion-in-the-new-movements.

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Zibechi, Raúl. Dispersing Power: Social Movements as Anti-State Forces. Translated by Ramor Ryan. Oakland: AK Press, 2010.

———. Territories in Resistance: A Cartography of Latin American Social Movements. Translated by Ramor Ryan. Oakland: AK Press, 2012.

Zournazi, Mary. “Navigating Movements: A Conversation with Brian Massumi,” in Hope: New

Philosophies for Change, by Mary Zournazi (New York: Routledge, 2002), 210–243.

[korstudying]

Day 10-11 || Full study plan

Unveiling Korean Language Nuances: Possibilities and Choices - -더라도 and -든지

Hello, language explorers! 🌟 Let's continue our captivating journey through the enchanting world of the Korean language. Today, we're diving into the fascinating expressions of "-더라도" and "-든지", which introduce us to the realms of possibilities and choices.

🌟 "-더라도" - Embracing Possibilities 🌟

비가 오더라도 나갈 거예요. "Even if it rains, I will go out." (Expressing determination to go out despite the possibility of rain.)

시간이 없더라도 해 볼 만해요. "It's worth trying even if there's not much time." (Highlighting the value of attempting something despite time constraints.)

어려워도 절대 포기하지 않을 거예요. "I will never give up, even if it's difficult." (Expressing unwavering determination regardless of challenges.)

돈이 없더라도 즐거운 시간을 보낼 수 있어요. "Even if I don't have money, I can still have a good time." (Highlighting the possibility of enjoying oneself without money.)

지금은 바쁘더라도 나중에 꼭 만나요. "Even if you're busy now, let's meet later for sure." (Expressing the certainty of a future meeting despite current busyness.)

🌟 "-든지" - Embracing Choices 🌟

��식은 뭐든지 좋아해요. "I like all kinds of food." (Expressing a preference for various types of food.)

여행을 어디든지 가고 싶어요. "I want to go on a trip anywhere." (Expressing a desire to travel to any destination.)

내일 할 일은 뭐든지 알려 주세요. "Please let me know whatever I need to do tomorrow." (Requesting information about tasks, regardless of their nature.)

음악을 들을 때는 노래든지 클래식이든지 상관 없어요. "When I listen to music, I don't mind whether it's a song or classical music." (Expressing openness to different types of music.)

같이 시간을 보낼 친구는 어디든지 좋아요. "I'm fine with hanging out with friends anywhere." (Indicating a willingness to spend time with friends at any location.)

With these expressions in your linguistic toolkit, you're all set to explore the realms of possibilities and make confident choices in your Korean conversations. As you navigate through the intricate pathways of language, these expressions will be your compass, guiding you toward new horizons and exciting choices. Happy learning! 🌟🗣️

[lethedwarddavidsonworld-blog]

Signalis Doom - 5

Not much today either, it was mostly a mix of overcoming issues with 3d models in doom and figuring out some workflows.

3d models are still considered sprites, so to get models to display properly, it involves a degree of pointing the engine to look at invisible dummy sprites and then swapping those with the model. Odd stuff. There's better formats than this one and i'm going to look into those. That being said, i'm unsure how much i'm gonna commit to 3d, right now it's just experimentation. what I'll prob end up doing is spending a day banging out a buncha mockup sprites to approximate some chars and start mapping. Just enough to get the idea. tbh i could be doing way more mapping to establish a level language than i am, i'm kinda putting it off to play with textures and i gotta diversify.

I'm considering commissioning some artists for some spritework, either on specific characters or UI elements or such. I know i'll want something done for the opening splash. Most of my time today, and the next few days, is going to be spent reacquainting myself with a host of tools. I've been doing gamedev for years, i went to school for 3d animation, and i've spent a great deal of time in alot of art tools. However, i tend to forget how they work very easily. I realized i'm not gonna get anything done unless i take the time to remember how the following tools work; 1. Maya for core animation(could be a problem, iqm is the newest doom format and the community pipeline is best setup for blender, but we'll see how it goes) 2,. Blender for import/export/better compability with some aspects of gzdoom 3. Photoshop for photo manipulation of the existing textures and as a means of either creating new textures, or givng more nuance to ones i create elsewhere. 4. Aesperite for core pixel art. Signalis is a mix of low rez painted works and pixel art, and knowing when to deploy each is a good idea. 5. I'll need to get a proper toolkit up for the model to 2d pipeline, i have options but they need to be tested. 6. FL studio for audio manipulation. 7. and imma be real i don't know how spreadsheets work and i'm gonna need a hell of a spritesheet to organize what assets i'll need to recreate. That sounds like a lot but i've used them all before, and i'd need to more or less do the same thing for any real production anyway.

On the plus side, i think i've figured out how to do the floors. i'll just take elements of the original textures, and build a larger one out of them with built-in variation for tiles and color variation. I'll add more variation as needed in-editor.

I'm realizing i'm spending alot of time in odd spots. To be honest, i've never done a fan project like this before, much less one working with OG textures. I'm having a tough time getting my head around not only the unique nature of doom modding (releasing contnet packs taht can slot into any game) with full game production (Og maps, mechanics, story with bespoke stuff) ontop of fanworks (fanfiction, recontexualization of original assets). part of me wonders if my focus on getting og textures working is a mistake, as it's putting me in a mindset that's not the most useful for my project. But we'll see, I'll get my priorities straightned out, this ain't getting done overnight either way.

[omegaphilosophia]

Language, Thought, and Reality: The Interplay of Human Understanding

Language is more than a mere tool for communication; it's a fundamental element of human cognition that significantly shapes our perception of reality. The intricate relationship between language, thought, and reality has intrigued philosophers, linguists, and cognitive scientists for centuries. This intricate interplay not only influences how we express our ideas but also defines the very nature of our thoughts and, by extension, the way we perceive the world.

Language as a Lens to Reality

One of the most influential ideas in this realm is the Sapir-Whorf hypothesis, which posits that the structure and vocabulary of a language can mold and constrain the way its speakers think about the world. This concept comes in two flavors: linguistic determinism and linguistic relativism. Linguistic determinism suggests that language entirely determines the way we think, limiting our thoughts to what is expressible in our language. Linguistic relativism, on the other hand, holds that language influences thought but doesn't strictly determine it.

Consider, for instance, the linguistic distinction between colors. Languages vary in how they categorize and label colors. Some have more words for different shades of blue, while others may combine colors that speakers of different languages consider distinct. This variation can affect how people perceive and categorize colors. If a language doesn't have a distinct word for a certain shade, its speakers may be less likely to perceive it as a separate entity. In this way, language can serve as a lens through which we view and define our reality.

The Mind's Toolkit: Language and Concepts

Language, in its complexity, provides us with a toolkit for understanding and categorizing the world. Words are not just labels but also containers of meaning and concepts. They define boundaries, allowing us to separate, categorize, and convey information. The very presence of specific words in a language implies the importance of these distinctions to its speakers.

Furthermore, the structural components of a language, such as syntax and grammar, govern how ideas are connected and expressed. They provide a blueprint for how concepts are related within the realm of thought. Thus, language helps us not only to classify the world but also to construct our understanding of it.

The Cultural Dimension

It's important to recognize that language isn't just an individual phenomenon. It is deeply entwined with culture. The language a person speaks is often a reflection of their cultural background and can encompass shared beliefs, values, and worldviews. Cultural linguistics explores how a language's unique features emerge from and influence the culture it is embedded in.

Beyond Language

While the Sapir-Whorf hypothesis and the study of linguistic relativity highlight the significance of language in shaping thought and reality, they are not without controversy. Critics argue that thought and perception are not solely dictated by language. Concepts like non-verbal communication, universal human experiences, and innate cognitive structures challenge the idea of linguistic determinism.

In the grand scheme of philosophy, the relationship between language, thought, and reality remains an open question. Language undoubtedly plays a vital role in shaping our perception of the world, but its extent and limits continue to be topics of philosophical inquiry.

As we ponder the intricate connection between language, thought, and reality, we gain insight into the profound ways in which human beings engage with and understand the world. This philosophical exploration enriches our understanding of the human experience and broadens the horizons of cognitive science, linguistics, and cultural studies.

[steelbluehome]

Indie Wire

‘A Different Man’ Was the Film Everyone at Sundance Wanted to Talk About but Didn’t Know How

Writer/director Aaron Schimberg and actor Adam Pearson discuss how the language surrounding disabilities shouldn’t become a conversation-stopper.

By Chris O'Falt

October 4, 2024

When A24 premiered the darkly humorous and twisted “A Different Man” at the Eccles Theater at the Sundance Film Festival, it quickly became one of the buzziest films at the festival. But many were confronted with the fact they didn’t have the language — or the quote-unquote right language — to discuss the disability at the plot’s heart. At one point, star Sebastian Stan had to politely correct one person who used an unaccepted term in their question.

In the film, Stan plays Edward, an aspiring actor born with (although it is never specified) neurofibromatosis, or NF1, a genetic condition in which non-cancerous tumors grow in the nervous system, causing bumps and discolorated patches on the skin. Stan dons prosthetic makeup for the first half of the movie before his character undergoes an experimental (and entirely fictional) facial reconstructive surgery.

“It’s a question that even I struggle with. I have a cleft palate, and in terms of talking about myself, I struggle with the language,” said writer/director Aaron Schimberg while on IndieWire’s Toolkit podcast. “When I was growing up, I considered myself deformed. Later, I changed that to disfigured, and that’s sort of where I’ve landed if I talk about myself; I say I’m disfigured. But I understand that this is not a perfect description, and I would feel uncomfortable using that term about anybody else.”

Schimberg does switch his language when discussing Stan’s character and actor Adam Pearson, who also starred in his first film, “Chained for Life,” and plays Stan’s nemesis in the second half of “A Different Man.” The charming character played by Pearson, who was born with NF1, forces Edward (now going by the name of Guy) to confront what he’s lost post-surgery, including his dream acting role, as the film descends into a deliously pitch-black comedy about identity. When discussing Pearson or the character Edward, Schimberg uses the term “facial difference,” which is also the language A24 suggested in its guide to press on how to navigate talking about “A Different Man.”

“Facial difference is certainly the most politically correct term. That’s the term that is the safest, but to me, it feels a little bit academic,” said Schimberg.

The more accepted “facial difference” doesn’t 100 percent sit right with Schimberg. Beyond the academic nature, aren’t all our faces different? Isn’t that visually the easiest way we tell ourselves apart from one another, regardless of a genetic condition or disability? Pearson, a disability activist, worries well-intentioned people who come to the film, and subsequent conversations, with an open heart feel discouraged from talking about it.

“I think language is a minefield now,” said Pearson. “We’ve gotten to a point where language is becoming quite counterproductive. That people feel like they can’t talk about it for fear of saying the wrong thing. And, you know, people don’t know what they don’t know. And so I want to get to a point where people can talk about this film in a way that’s meaningful. And, if they do get it wrong, get lovingly and patiently corrected so that they can learn to get it right.”

A24’s press guide adopted the APA (American Psychological Association) Style, which calls for language to “put people first, not their disabilityˮ and to “not label people by their disability.ˮ It also recommends the phrases “a person with a disfigurementˮ or “facial differenceˮ but notes some groups also use “visible differenceˮ or “altered appearance.ˮ Pearson agrees with this but quickly added that not having the correct language should never be a reason to avoid the conversation.

“I did get that live at Sundance — everyone’s up for a conversation, but there was a nervous energy to all the conversations,” said Pearson. “But again, that’s part of the film, how we push through that discomfort and nervous energy to get to an end resolution. And I would always encourage people to have the conversation. You’ve got to get it wrong to learn how to get it right, as with anything in life.”

That people would avoid talking about the film is Schimberg’s worst nightmare — and an experience he’s not unfamiliar with.

“When I made my last film, ‘Chained for Life,’ which also deals with this subject, I sort of felt that this difficulty in discussing this subject in some ways marginalized the film,” said Schimberg. After the film failed to find an audience despite a positive critical response, he told his wife he would never tackle the subject matter again because it was box office poison.

“But I’m stubborn, and after a while, I thought, I’ve got to find a way to make this commercial in some way to get it right, as with anything in life.”

[unpluggedfinancial]

The Importance of Investing in Yourself: The Ultimate Guide to Lifelong Growth

When it comes to investing, people often think of stocks, real estate, or Bitcoin. But there's one investment that will always give you the highest return—investing in yourself. It’s not about the dollars you put into an asset or the number of hours spent working. It’s about putting in the effort and resources to become the best version of you. Investing in yourself is the foundation for everything else in life—your happiness, success, and overall fulfillment.

Why Investing in Yourself Is the Best Investment You Can Make

Imagine planting a tree. You nurture it with water, sunlight, and care. Over time, that small seedling grows into a magnificent tree that provides shade, oxygen, and perhaps even fruit. Investing in yourself works the same way—it's the single most important thing you can do to ensure growth and fulfillment. The return on this investment doesn’t just impact you; it ripples outward, affecting those around you, your community, and even the world.

When you invest in yourself, you are building a foundation for your future, where opportunities aren’t something you chase but something that naturally comes to you. You’re positioning yourself to not only weather the uncertainties of life but to thrive amidst them. Investing in yourself empowers you with confidence, opens doors to new opportunities, and cultivates a sense of worth that transcends material wealth.

Practical Ways to Invest in Yourself

Education: Never Stop Learning

Learning is a lifelong process, and in today’s world, the opportunities for education are limitless. Whether it's reading books, attending webinars, taking online courses, or simply listening to podcasts, investing in your education enriches your perspective and helps you stay adaptable. Knowledge is power, and the more you learn, the better equipped you are to navigate life’s challenges.

Think of it this way: every time you learn a new skill, you're adding another tool to your personal toolkit. It might be taking an online course about Bitcoin or learning a new programming language—all these little efforts compound to make you more knowledgeable, adaptable, and ready to seize opportunities when they come.

Health: Your Wealth Depends on It

A wise person once said, "A healthy person has a thousand wishes, but a sick person has only one." Physical and mental health are often overlooked forms of investment, but without good health, all other forms of success lose their meaning. Exercise, eating nutritious food, and practicing mindfulness are all investments in your longevity and well-being.

By taking care of your physical health, you’re giving yourself the energy needed to achieve your goals. Investing in mental health, through meditation, therapy, or even just quality time with loved ones, ensures you have the resilience needed to navigate the ups and downs of life.

Financial Literacy: Knowing How Money Works

Investing in yourself also means understanding how to manage your money. Developing financial literacy—learning about saving, budgeting, and investing—equips you with the knowledge to create financial independence. For me, discovering Bitcoin led to a deep dive into understanding money, value, and the economic forces shaping our world. This investment in knowledge transformed not only my financial situation but also my entire outlook on life.

Learning about money empowers you to make decisions that align with your long-term goals, giving you the freedom to invest in other areas of your life, like pursuing passions or building relationships. It’s about creating opportunities to grow, rather than living paycheck to paycheck.

Time: The Most Valuable Resource

Time is your most finite and precious resource. Choosing to spend it on activities that enrich your life is a profound way of investing in yourself. This could mean pursuing hobbies that bring you joy, taking time to rest, or working on projects that fuel your passion. Every hour spent intentionally is an investment in your growth and well-being.

Consider what you would do if you had the freedom of time—maybe it’s learning a new skill, connecting with family, or building your own business. By investing time in these areas now, you’re laying the foundation for a fulfilling future.

My Journey: How Investing in Myself Changed My Life

I vividly remember when I started my journey with Bitcoin. At the time, it wasn't just an investment in a digital asset—it was an investment in myself. I learned about the history of money, economics, and the pitfalls of our current financial system. It changed how I viewed the world, and it gave me a new sense of purpose. The returns weren't just financial; they were deeply personal. It gave me a mission—to help others see the power of taking control of their financial future.

Investing in myself also meant creating content to educate and inspire. It’s become a way of growing not just my own understanding but helping others unplug from traditional financial systems. It’s an ongoing journey, and every piece of knowledge I share, every skill I acquire, takes me one step further.

Conclusion: The Lifelong Journey of Investing in Yourself

Investing in yourself isn’t about instant gratification. It’s about making choices today that will yield incredible dividends in the future. Whether it’s gaining knowledge, nurturing your health, understanding money, or wisely spending your time, every effort you make compounds into something extraordinary.

So start today. Pick up that book, take that course, prioritize your health, or learn how to budget. The beauty of investing in yourself is that the returns are limitless—you’re building a better future not just for yourself, but for those around you as well. Remember, the best investment you can make is in the person staring back at you in the mirror.

Take Action Towards Financial Independence

If this article has sparked your interest in the transformative potential of Bitcoin, there's so much more to explore! Dive deeper into the world of financial independence and revolutionize your understanding of money by following my blog and subscribing to my YouTube channel.

🌐 Blog: Unplugged Financial Blog Stay updated with insightful articles, detailed analyses, and practical advice on navigating the evolving financial landscape. Learn about the history of money, the flaws in our current financial systems, and how Bitcoin can offer a path to a more secure and independent financial future.

📺 YouTube Channel: Unplugged Financial Subscribe to our YouTube channel for engaging video content that breaks down complex financial topics into easy-to-understand segments. From in-depth discussions on monetary policies to the latest trends in cryptocurrency, our videos will equip you with the knowledge you need to make informed financial decisions.

👍 Like, subscribe, and hit the notification bell to stay updated with our latest content. Whether you're a seasoned investor, a curious newcomer, or someone concerned about the future of your financial health, our community is here to support you on your journey to financial independence.

Support the Cause

If you enjoyed what you read and believe in the mission of spreading awareness about Bitcoin, I would greatly appreciate your support. Every little bit helps keep the content going and allows me to continue educating others about the future of finance.

Donate Bitcoin: bc1qpn98s4gtlvy686jne0sr8ccvfaxz646kk2tl8lu38zz4dvyyvflqgddylk

[shemsuji432]

Exploring the Python and Its Incredible Benefits:

Python, a versatile programming language known for its simplicity and adaptability, holds a prominent position in the technological landscape. Originating in the late 1980s, Python has garnered substantial attention due to its user-friendly syntax, making it an accessible choice for individuals at all levels of programming expertise. Notably, Python's design principles prioritize code clarity, empowering developers to articulate their ideas effectively and devise elegant solutions.

Python's applicability spans a multitude of domains, encompassing web development, data analysis, artificial intelligence, and scientific computing, among others. Its rich array of libraries and frameworks enhances efficiency in diverse tasks, including crafting dynamic websites, automating routine processes, processing and interpreting data, and constructing intricate applications.

The confluence of Python's flexibility and robust community support has driven its widespread adoption across varied industries. Whether one is a newcomer or an accomplished programmer, Python constitutes a potent toolset for software development and systematic problem-solving.

The ensuing enumeration underscores the merits of acquainting oneself with Python:

Accessible Learning: Python's straightforward syntax expedites the learning curve, enabling a focus on logical problem-solving rather than grappling with intricate language intricacies.

Versatility in Application: Python's versatility finds expression in applications spanning web development, data analysis, AI, and more, cultivating diverse avenues for career exploration.

Data Insight and Analysis: Python's specialized libraries, such as NumPy and Pandas, empower adept data analysis and visualization, enhancing data-driven decision-making.

AI and Machine Learning Proficiency: Python's repository of libraries, including Scikit-Learn, empowers the creation of sophisticated algorithms and AI models.

Web Development Prowess: Python's frameworks, notably Django, facilitate the swift development of dynamic, secure web applications, underscoring its relevance in modern web environments.

Efficient Prototyping: Python's agile development capabilities facilitate the rapid creation of prototypes and experimental models, fostering innovation.

Community Collaboration: The dynamic Python community serves as a wellspring of resources and support, nurturing an environment of continuous learning and problem resolution.

Varied Career Prospects: Proficiency in Python translates to an array of roles across diverse sectors, reflecting the expanding demand for skilled practitioners.

Cross-Disciplinary Impact: Python's adaptability transcends industries, permeating sectors such as finance, healthcare, e-commerce, and scientific research.

Open-Source Advantage: Python's open-source nature encourages collaboration, fostering ongoing refinement and communal contribution.

Robust Toolset: Python's toolkit simplifies complex tasks and accelerates development, enhancing productivity.

Code Elegance: Python's elegant syntax fosters code legibility, promoting teamwork and fostering shared comprehension.

Professional Advancement: Proficiency in Python translates into promising career advancement opportunities and the potential for competitive compensation.

Future-Proofed Skills: Python's enduring prevalence and versatile utility ensure that acquired skills remain pertinent within evolving technological landscapes.

In summation, Python's stature as a versatile, user-friendly programming language stands as a testament to its enduring relevance. Its impact is palpable across industries, driving innovation and technological progress.

If you want to learn more about Python, feel free to contact ACTE Institution because they offer certifications and job opportunities. Experienced teachers can help you learn better. You can find these services both online and offline. Take things step by step and consider enrolling in a course if you’re interested.

[pawnshopsouls]

Salem217 sat on the steps of the Altar of Truth, a fragment of white stone in his hands. It was smooth, almost obelisk shaped with rounded edges to its two faces. Gently, he chiseled at the marks on it and blew on the stone, scattering dust debris.

“What are you doing?” Chauncey asked looking down at the stone in his guardian’s hand.

“I’m makin’ a token,” Salem replied, lifting it to show his ghost. “I asked Eris about the symbols in the entry way ‘n’ she said that Hive can define reality with their language, ‘n’ that by gainin’ power through Sword Logic ‘n’ soul fire, they can fuel a change equal teh the amount they use.”

He scraped at the stone a little more, squinting one eye as he talked. “So the way I figure is that if the Witch Queen has survived the Dark by tyin’ her existence’n’ very nature teh one word, she might do better bein’ tied teh different words in the Light.”

“You think she’ll come back?” Chauncey asked with quiet apprehension.

“Yep,” Salem replied, scrutinizing his rube work. “If Immaru ain’t squished, she’s comin’ back.”

He paused and smiled at his work. “There. Good as I can get it.” Chauncey watched as he took a long, deep breath and slowly blew on the stone. A faint must if Light wafted forward, flowing along his breath like a mist. Slowly, it drifted across the stone, seeping into its smooth surface while the etched runes began to glow. He’d never seen another guardian use their Light like that before and he couldn’t help but stare in fascination at the light-infused token.

Salem smiled as he finished, turning the stone over, saying with his work. “A’right, like I was sayin’ earlier, Eris said that Hive define themselves through their language,” he explained, setting the stone down on the altar to join several others. “So when she comes back, I want her teh see she has more options now, more than she or them other Hive thought. Ones than can make a change, Y’know? ‘N’ Traveler knows we need a change.”

Letting Chauncey Transmat his toolkit away, Salem stood to leave. Behind him were the hand sized tokens on the altar, each carved with a different set of symbols, all brimming with infused light. Mother. Teacher. Protector. Truth-keeper. All words he wanted to associate with the Witch Queen, all filled with Light thanking the absent Savathun for her insights… and maybe her riddles too.

He didn’t think he’d meet her again, but he did hope his tokens might help her change things for the better. After all, what is the Light’s gift if not the chance to change and try again?

[freehawaii]

HEREʻS HOW TO RECOVER HAWAIIAN HISTORY

HawaiiBusiness.com - June 23, 2023

You may know it as Diamond Head, but Hawaiians call it Lē‘ahi. Lanikai? That’s actually Ka‘ōhao, and the local elementary school has changed its name accordingly. And that small island across from Kualoa Ranch is Mokoli‘i, which means “little lizard.” Legend says the islet was created when the goddess Hi‘iaka cut off a giant lizard’s tail and tossed it into the sea. That’s a more colorful name and story than the common nickname for the island, which employs an oldtime slur to refer to Chinese people that we won’t repeat here. For many of us, these traditional names may not come to mind as quickly as the modern nicknames, but the Hawai‘i Tourism Authority, the Native Hawaiian Hospitality Association, Hawaiian scholars and others want you to make the effort to learn and use the Hawaiian names for places across all the Islands. The HTA’s Ma‘ema‘e Hawai‘i Style and Resource Toolkit, created in partnership with NaHHA, asks “anyone who has a role in representing Hawai‘i” to use the Hawaiian place names first before referring to any English nicknames. “Hawaiian place names honor the people who named them and the natural forces and stories these names convey. In using proper Hawaiian place names, we bestow the highest honor to the land and the history of place,” says the toolkit. Using “Nicknames Erases a History” Katrina-Ann R. Kapā‘anaokalāokeola Nākoa Oliveira, interim assistant vice provost at UH Mānoa and a member of the Hawai‘i Board on Geographic Names, says Hawaiian place names tell us about the significance of places and their features. “When people understand the significance of the place, it helps us to recall what happened there,” says Oliveira. Hawaiian place names “help us to inform how we conduct ourselves in those places. So when we go to a place that is revered for being a very kapu place, a place that’s sacred, you conduct yourself in a manner that commands that type of respect.” The toolkit says people should consider the implications of any English nicknames. While some nicknames may be interpretations of the place’s Hawaiian name, others may be disrespectful to the traditional value of a place, says Oliveira. “The use of nicknames erases a history, a tradition that preceded the use of the English language here. Not only does it erase the place name, but also the use of Hawaiian language.” Nicknames have also worked to replace the history of a place, says Oliveira. As an example, she describes the East O‘ahu community of Maunalua, whose nickname is ‘Āina Haina. “Folks think that it’s a Hawaiian name, ‘Āina Haina, but it was really because of Hind,” Oliveira says, referring to Robert Hind of Hind-Clarke Dairy. “They hoped that it would sound kind of Hawaiian. And so people … don’t understand that it’s actually a newly created name.” Although the common nickname for the islet of Mokoli‘i may seem harmless to some residents, “referencing the nickname in the media could perpetuate the idea that it is an acceptable phrase to everyone, including visitors to Hawai‘i who will return to their hometowns on the U.S. continent,” says the Hawai‘i chapter of the Asian American Journalists Association. “When I say the names of these places, I’m quoting my ancestors,” Oliveira says. “I’m saying the same words, the same place names that they once used themselves. And so I’m honoring them, paying respect to them and the culture and the language and the traditions and keeping those things alive. Because that’s what makes Hawai‘i unique, is remembering the Hawai‘i of long ago.”